How We Imagined a Female President Would Look in 1992

Photo: Peter Lindbergh/DKNY

We’re closer than ever to electing a woman president—a political outcome that seemed fantastical even in 1992, when Donna Karan made an almost farcically outlandish ad campaign called “In Women We Trust” depicting a woman in high office: “Karan’s ads make the presidency look like it was art-directed by Lana Del Rey—all slo-mo and high contrast, shallow focus and delicate, practiced ennui. In Madame President’s ticker-tape parade, her crisp oxford blows open to reveal a presidential décolletage supported by what looks like a black lace bustier. She juggles childcare duties with required reading in a tube top. Our suspiciously youthful commander-in-chief commands the respect of her old, male associates in double-breasted pinstripes and a skirt slit up to there, hair always blown back, nary a part nor pore in sight. It’s a dream within a dream: A woman makes it to the top of the political food chain with her composure, mood lighting, and sensual wardrobe intact.”

Say it’s 1661 and the Catholic Church has just locked you away because you’re Jewish. There’s a good chance you’ll be burned at the stake. You could mope about it. Or you could do what Francis von Helmont did: “he took his imprisonment in stride, and between trips to the torture chamber he conceived his theory of language. Usually referred to as the Alphabet of Nature, the small book outlines Francis’s concept of Hebrew and his scheme for teaching deaf-mutes to speak it. The frontispiece to the book shows Francis sitting at a table in his cell in Rome; facing a mirror, he is scientifically measuring his lips with a pair of calipers … Given Francis’ belief that all true knowledge is latent in our microcosmic bodies—accessible through divine revelation—it is not surprising that his model of language imagines the Hebrew characters as being almost engraved inside us, physically wedded to our mouths.”

You probably read the Boxcar Children as a kid—many generations have—not realizing that those children were capitalist shills, seducing you with images of an illusory meritocracy: “There remains something mildly and even pleasurably heretical about the way the Boxcar Children locate the outer limits of amusement in decorous productivity—the way that, for them, there’s no better use of total independence than perfectly mimicking the most respectable behaviors of adults. They earn money, do chores when no one’s watching (‘The children could hardly wait to put the shining dishes on the shelf’), and engage in none of the mischief that other literary children take to when left to their own devices … Hard work, here, is presented as at once deviant and rewarding, and kids respond to this—I know I did—with their rarely united desires to be both unsupervised and good.”

If you’ve always wished that “A Supposedly Fun Thing I’ll Never Do Again” was a photo essay, your prayers have been answered: for his series “End of Crisis,” William Minke embarked on not one but two cruises, photographing the diversions on ships that aren’t exactly state of the art. “I’ve always been fascinated by heterotopias and coexisting worlds,” he says: “After reading A Supposedly Fun Thing I’ll Never Do Again by David Foster Wallace I decided to go on a journey of cruise ships because his description of on-board life sounded very bizarre … As a traveller one can leave behind everyday life on thirteen decks of roulette tables, bingo and shopping malls twenty-four hours a day.”

Indonesia is enormous, beautiful, heterogeneous, populous … but no one is bringing its literature into English, Louise Doughty writes: “There are some countries so vast and diverse that any attempt to summarize them feels insulting: such is Indonesia. With a population of 258 million, it is the world’s fourth most populous nation and the largest formed by an archipelago. When it was guest of honor at the Frankfurt book fair last year, it appeared under the banner ‘17,000 islands of imagination,’ a phrase describing its geography but also encapsulating the complexities of representation … As yet, little of its literature has been translated into English … According to Goenawan Mohamad, Indonesia’s most well-known public intellectual and founder of Tempo magazine, which was banned for a while under the Suharto regime, ‘Asian writing is noticeable only when it comes from the site of calamity. Normally, a prolonged war, preferably one involving the U.S., or a genocide, or a tsunami, brings it to the focus of the world media, and the literary market comes next.’ ”

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